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) i was lucky enough to get the only film of the enemy fighting against u.s. forces taken during the whole war. here's one of them. here's a squad of them. (norm hatch) i'm proud to say that that film of mine has been used probably in every film on the pacific made. (dramatic music playing) i'd like to know where the rest of the squad went. what's this? (machine gun firing) whatever it is, it ain't healthy! let's get outta here! (thomas doherty) because so many americans knew the second world war not in a full combat experience -- they'd certainly seen newsreels and combat reports of the time. that was a close one! they would no longer accept a backlot rendering of the war. so there is a movement toward what you'd call verisimilitude in the post-war era. (thomas doherty) these films often incorporate some newsreel footage. (gunfire and explosions) (leonard fribourg) i received orders to report to the studios. they'd made arrangements with the marine corps to get all the footage out here that they could look at that had been taken during combat in world war ii. we watched the film
prices in tokyo are falling, but they're still at very high levels compared to the u.s. the average cost of housing in the greater tokyo metropolitan area is about $320,000. so, um... and these are very small apartments, very small condominiums and very small houses. so, although the price is declining, it's still very difficult to afford them. it's estimated that the average worker in japan will pay about nine to 12 years of their salary right now to buy a house in tokyo. so it's... although it's getting better, it's still not a very good situation. and that's fueling, again, increasing growth in the suburbs is continuing. narrator: the area that includes tokyo, and the three neighboring prefecture kanagawa, chiba and saitama, is called the greater tokyo metropolitan area. approximately the size of metropolitan los angeles, it has about twice the populati density. it is the world's foremost megalopolis, a series of almost continuous metropolitan areas that exchange a flow of people. and it doesn't stop there. taylor: this whole megalopolis is part of a larger megalopolis, which then str
of hollywood's technical community learned documentary technique working either within the u.s., or for various branches of the armed forces and so they were more schooled in how to shoot in a more raw, less studio-bound, less stylized fashion. and i also think the experience of the american public with documentaries during the war led to a greater acceptance of semi-documentary realism in fiction films. shooting on location, it's a must for film noir because film noir is reality. it's reality as is. (man's thoughts) i just kept going down and down. it was like going down to the bottom of the world, to find my brother. (andre de toth) no matter how many great art directors you have you cannot afford to make it so used as a street is. it's impossible. somehow you feel it, even if you don't see it. that's the magic of film. you never know how it happens but it does happen. of course it was against all the studio rules. "we have the back lot, shoot it there." "i spent $2 million on that street, use it." (man's thoughts) i found my brother's body at the bottom there, where they had thrown it away o
suppose, and get away with it. but not really so, a christian nation, because the first amendment to the u.s. constitution separates church and state. however, i always like to say, "well, in some senses, it's a christian nation, but it most certainly is a jewish nation, because that whole creation, liberation, exodus, making of a holy land - we've got towns around here called zion or new canaan or whatever - what the whole drama - and again, i'm not making this up, folks, as dave barry would say - the ministers on the boats, like the arabella , coming into the plymouth colonies, actually gave sermons that replicate or bring out the whole old testament drama, so we get a feel of these kinds of things there. let me move - before we take a couple of questions here - i want to get to our rabbi bronstein, because what makes this class work is you don't have to listen to some religious studies professor talk about somebody else's religion; you can listen to the real thing. and in this case, we have rabbi bronstein, and i swear folks, i did not slip him five dollars to say what he's going to say -
, the u.s. flag has no special meaning for him, because its whole mythological symbolism was found, for his life, to be untrue. >> see, now there is a response the flag. i'm glad you brought the flag up, because this whole question about, "do i burn the flag? do i honor the flag?" during that time, people sewed the flag on their butts, people honored it, and it's a powerful, powerful symbol that unifies what we mean as america, but during that time, it did not, and that's what we're talking about. the power of symbolism in its political context is radically real. other elements, just in terms of what we see in terms - it infuses public policy with social ideas with mythic significance. now here, let me sort that one out for you, because i hearken back to my fifth grade social studies textbook. they're a little bit more savvy now, they're a little bit multicultural, so you don't find it, but back when i was in fifth grade, that's what we mean about infusing the political process. george washington chops down the cherry tree, doesn't lie; abe lincoln walks a million miles to give bac
Search Results 0 to 4 of about 5